![]() "Lee Tamahori didnt play by any of the Bond rules," Bryan says in conclusion. "It was difficult to get the scale and movement between the two elements to work in a naturalistic way," Starling says. The Cinesite team was a bit surprised to discover how hard it was to make it look as though the icebergs were interacting with the water. All reflections were achieved through ray tracing and in-house shaders developed specifically for this project." "One of our head TDs, Matthew Maude, wrote some custom Maya plug-ins to give some red light transmission through the iceberg geometry, which was then read into shaders. #Renderman water software#"Refraction was mainly achieved by testing and using Pixars new Renderman II, and by using our in-house shader writer, Douglas Harsch, to set up very specific controls and pipelines to ensure the software was working," she continues. "The amount of detail involved in a shot of that scale was considerable. "Getting the general movement of the water right and the proper scale for how big the wave should be was a challenge, and because it was ice and water we also had to create reflection and refraction," Starling explains. ![]() "I obtained every book on Antarctica that was ever printed, and the art department supplied a lot of reference material."Īccording to Dottie Starling, supervisor of Cinesites wave-sequence work, it took about a year of R&D and testing to perfect software for the water shots (a combination of Cinesites proprietary water-generation and particle-rendering programs, along with Maya and Houdini), and it took six months to perfect the iceberg shader and water-interaction software (Renderman and beta testing of Renderman II). "I went to Spitsbergen, up near the Arctic Circle, to shoot reference plates and large-format stills that we could use to digitally texture the ice," she recalls. When Lee Tamahori asked me whether we could do it, I just looked at him and said, ∞r yeah, and then I went to Cinesite and said, Ive just said yes, so weve got to do this!"īryan began by gathering reference materials in Iceland and other frosty locales. Ice has a translucency and a transparency that we cant actually give to a CG object, so we had to simulate it with lighting and shaders. "We shot Pierce against bluescreen, and everything else was entirely CG. ![]() "Its a very short sequence but probably the most demanding one in the film," she says. "And then, of course, he appears to be almost kite-surfing on an enormous, 150-foot-high wave as the swells," Bryan says with a chuckle.īryan says it took every trick in the book to make Bonds icy plunge and gale-force parasailing look credible. Thinking quickly, 007 grabs a parachute as he sails toward the raging waters, where the impact of the falling glaciers creates a mega-tsunami. Moon uses a deadly beam of sunlight to send 007s jet-powered ice yacht and the cliff its sailing on plunging into the icy sea below. ![]() More than 50 effects shots were needed to create a spectacular sequence in which Bond nemesis Col. ![]()
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